Authenticity in musical performance an analytical performance
The very beginnings of the authenticity debate can be traced back to the turn of the 20th century, when Arnold Dolmetsch, musician, instrument-maker and pioneer musicologist, began writing about the performance of old music.From that time on, an ever-growing number of musicians and scholars have been engaged in the study and performance of music from the Medieval, Renaissance, and Baroque periods.This constituency, now referred to as the historical, period, or authentic performance movement, or simply the early music movement, emerged alongside those preexisting performance traditions that were inherited from Liszt and the great Romantics and
perpetuated by the celebrated virtuosi of the day. Not surprisingly, these two performance ideologies clashed severely, and the tension that grew out of this opposition sparked a heated debate, aptly described by the New York Timesas a “war.”Armed with the intellectual appeal of positivismand the moralizing force of the term ‘authenticity,’ the early music movement wielded big guns...
authenticity in musical performance an analytical performance